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Figure 8: Fred Perry x Raf Simons virtual space

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PLUS: Innovative way of shopping for clothes - consumers can actually picture themselves wearing these garments in this setting (or any setting where it would be placed in an AR world).

MINUS: In terms of my project, creating a space like this would be difficult to achieve on a full scale (creation of graphics and AR space) would have to collaborate or evaluate my options in terms of what could be done with skillset/time constraints.

INTERESTING: consider what spaces an AR 'world' could be set in, AR gives you more opportunities for displaying garments and audience reach than in the real world.

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https://www.youtube.com/watch?v=P7up1bG5d00

PLUS: Really powerful campaign, used an actual landfill as a location, models in the rubbish and climbing the landfill. Lighthearted dance music provides a real contrast to the imagery, makes the audience really understand how much waste we produce. Whilst imagery is sad x shocking, the way its presented is engaging (and almost fun) = sparks action as opposed to anxiety. Going forward I think it's important to create work in this tone, especially in light of CP3 audiences can get overwhelmed by the climate crisis, so keep it fun whilst getting the facts across.

INTERESTING: Contrast in settings - presentation of a wholesome earth in contrast to what we have done to it. Again very powerful, but also very hopeful - reinforces the fact that it sparks action as opposed to anxiety.

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The Winter 2017 Stella McCartney Campaign Film | Full Edit

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PLUS: I really love these images from a photography and styling perspective, the model x garments are almost drowned out by the 'hoarding' material. Would be interesting to link to the consumption of clothes, as we all overconsume - most of our wardrobes are drowned in the amount of clothes we have. INSPIRATION for styling, being drowned in our clothes, clothes as a focal point of a shoot.

MINUS: The potential glamourization of overconsumption (more so in a fashion context). Further context such as Youtube fashion hauls glamourize the excessive consumption of clothing which is unsustainable - these images however do come from a perspective of 'collecting' as opposed to mass consumption. However, I want to avoid encouraging overconsumption in my promotion.

INTERESTING: ID magazine quote "[Gucci Hoarders] celebrates collectors, hoarders, and obsessives" - would be interesting to examine how and why we overconsume and 'collect' garments. LINK to fulfilling ideal self-image in CP3. Would be an interesting as a springboard for imagery to do with ugly overconsumption, obsession etc.

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FIGURE 3: Jacquemus Fall/Winter 2020 Campaign

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FASHION IMAGE INSPIRATION: JACQUEMUS FW20 CAMPAIGN.

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FASHION IMAGE INSPIRATION: JACQUEMUS FW20 CAMPAIGN.

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PLUS: This shoot is a great source of inspiration in terms of creating dynamic fashion images, I want to propose images that have the potential to be utilised in the online platform and promotional images. Therefore I want to place garments at the focus of the shoot using the model as a prop.

MINUS: consider to what extent the questions in the 'interesting' point are possible - sourcing a photographer for the final shoot, creation of 3D renders of garments etc. can this be done in a 6 week timeframe, and if not, how can it be simplified.

INTERESTING: point of experimentation - having the garment as main focus of the shoot as opposed to the model, the model works around the camera and garment to make this the main focus. How? perspective warp in camera, model posing, styling, editing in photoshop post shoot, 3D renders. Consider does a model even need to be used? Can a focus on the garment be created more effectively without a model, would this be engaging to a consumer or would they prefer the garment to been seen on the model styled with other garments? How can clothes be photographed without a model, styled without a model etc. Does AR/ filters of the clothes have a possible avenue for exploration?

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Figure 6: Regenerative Futures Instagram post

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Comparison to 'Opening Space' - In terms of a graphic design perspective, the aesthetics of the Regenerative Futures platform is more in line for what I want to achieve within my own platform. Young person focus - reflected in the bright colours and 3D renders, and also makes the platform feel dystopian. Aids interactivity and feels 'other worldly'. However, as a user I did struggle navigating what the purpose of this online platform was, how you could get involved etc - 'Opening Space' is easy to navigate with an obvious purpose.

How does this comparison inform my project: experiment with utilising how to create an online platform that aids connection with the maker and the consumer - what digital elements can be used to make the online space feel immersive and not just a platform with information. Consider the meaning and limitations of online platforms.

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CONNECTION: was a really interesting experience where I got to connect with other small designers and people who had bought my garments before/ followed me on Instagram.

There is a high engagement with events like pop-ups and a high level of connection between maker and consumer built due to the opportunity of face-to-face interaction. Physical events are extremely beneficial to the advocation of sustainable fashion consumption, and as discussed in CP3 consumers engage with personal accounts of those in the fashion industry.

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2021 'OPENING SPACE' PLATFORM - USE OF ONLINE PLATFORMS TO ACCOMPANY EVENT.

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2021 'OPENING SPACE' PLATFORM - USE OF ONLINE PLATFORMS TO ACCOMPANY EVENT.

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PLUS: This platform can be used as a point of information and is accessible all year round, not just as part of the event. Beneficial as a side space to an event as has the possibility to create a separate 'world' for the event/showcase to live on, especially beneficial for those who cannot access the event in real life. Would be interesting to develop the idea of an online space as part of my physical event, utilising AR, 3D graphic design and video to expand the meaning of an 'event'.

MINUS: (context: online showcase due to Covid). Bearing context in mind, it was not possible to hold a large scale physical event. However, I don't want to create a standalone online platform as part of my final outcome, as people still like to attend and appreciate real life events such as pop-ups (especially in light of Covid). I think it would be beneficial for an online platform to be used as the extension of an event, as opposed to a standalone platform.

INTERESTING: Use of online platform as a means of connection. The platform uses creative profiles to exhibit graduate's work to engage potential clients. For my event I would like to experiment with connecting through an online platform with video and renders of small designer's garments. These elements of experimentation would be used to assess how is best to encourage interactivity on the online platform.

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HAN ET AL. ‘Determining effective sustainable fashion communication strategies.’ 

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HAN ET AL. ‘Determining effective sustainable fashion communication strategies.’ 

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It is shown people connect less with themes surrounding climate change and the environment, connecting more with personal accounts of those within the fashion industry (Han et al. 2017) (Paraphrase of quote from my CP3 essay)

CONNECTION: Evidence that the young consumer connects with personal accounts of those in the fashion industry as shown by the Isabella Vrana IGTV.

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FIGURE 2: Lil day in the life at work @isabella.vrana

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ISABELLA VRANA : DAY IN THE LIFE OF AN INDEPENDENT SMALL DESIGNER INSTAGRAM IGTV. 

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ISABELLA VRANA : DAY IN THE LIFE OF AN INDEPENDENT SMALL DESIGNER INSTAGRAM IGTV. 

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INSTAGRAM VIDEO LINK

PLUS: relatability is what seems to make independent designers thrive on platforms such as Instagram - consumers seem to really enjoy knowing the day-to-day workings of an independent business. It could potentially be argued that large fast fashion companies lack the element of relatability/personal nature, which could regard these clothes as more disposable in comparison to that of a small designer, where the consumer knows where the clothes come from. It would be interesting the impact of using Instagram advertising within my final concept, as it is evidently effective in bridging a personal relationship between the maker and consumer.

MINUS: Limited age range that could be targeted ? This is very focused on young female consumers, doesn't appeal to young male consumers and older consumers - although female consumers are my main target range, it would be interesting to consider if Instagram communication could possibly be extended to these age groups. Also, comments x likes from this Instagram post are from a demographic that is enthusiastic about second hand fashion, so would young female consumers who shop predominantly fast fashion engage in this content?

INTERESTING: Would be interesting to produce a series of short films as promotion for a sustainable fashion event, examining different small designers and their design and making process. Can be used as promotion and material to be shown at the actual event. Examine how Instagram promotion can be used to further promote relatability and personal engagement for sustainable fashion communication.